Bio

Starting with their truly game-changing remix of Mike Posner’s I Took A Pill In Ibiza - Seeb Remix through to their work with the likes of Coldplay - Hymn for the Weekend - Seeb Remix, Taylor Swift - Delicate (Seeb Remix), Ed Sheeran, Tove Lo, OneRepublic and Dagny, chances are that you’ve heard the music of Seeb.

Their globe-conquering take on Mike Posner’s ‘I Took A Pill In Ibiza’ hit No.2 on the Global Spotify Chart, No.4 on Billboard Hot 100 and became a world radio and dancefloor smash. Seeb found further fame with their spin on Shawn Mendes’ ‘Stitches’ and by having Chris Martin invite them to remix Coldplay’s ‘Hymn For The Weekend’, before giving a new sense of colour to Taylor Swift's‘Delicate’. OneRepublic asked them to collaborate together on  ‘Rich Love’, they then had Bastille join for the technicolour adventure of ‘Grip’ and their  runaway original tracks with the likes of Skylar Grey, Dagny, Highasakite and Olivia O'Brien had them amassing well over 3.8 billion streams on Spotify to date.

Shortly after they followed up with the joint Julie Bergan single 'Kiss Somebody', the hooky collaboration with Justin Jesso on 'Bigger than', and soon after released 'Unfamiliar' with HRVY & Goodboys then completing it all with releasing their debut album 'Sad in Scandinavia' in January 2021.  2022 saw a collaboration with Nina Nesbitt and Julie Bergan before ending the year with 'Would you lie', a collaboration with US singer/songwriter Alexander Stewart.

my new album ‘Believe Me Now?’ is OUT NOW!

mgmt:
Alex Martin
info@am-music.net

Management - info@famm.uk 
Live Enquiries - summer.Marshall@caa.com & mike.Greek@caa.com

Mark Hawkins is a studio based musical artist with a career spanning more than 25 years.

Cutting his teeth in the UK underground party scene throughout the 90s, he has built an extensive body of work collaborating with a wide variety of record labels and artists, in numerous styles of electronic music under many different aliases, including his given name.

After two and a half decades of performing both as a live electronic act, and as a DJ, at many events around the world, which had included many of the most well known clubs and festivals, he decided to narrow his focus down to his main passion of writing, producing and engineering music in his Berlin studio, working on both his own material, and as a sonic “gun for hire”, assisting other artists in achieving their own aspirations in the studio environment.

Mark is a reclusive character who is more interested in sculpting sound, and searching for the perfect beat than promoting his own work, and as such declines to participate in the social media world which dominates contemporary culture.

Preferring to immerse himself in the world of audio manipulation, he has become a go-to studio engineer amongst those in the know, who want their own sound to take on a more professional sheen, or even a more retrospective aesthetic that relates to music from days gone by. 

But this has in no way slowed down his own output of material, in fact, without the distraction of unwanted self promotion or touring, he has been able to place an increased emphasis on crafting exactly the kind of music he wants to create for himself.

Looking ahead, Hawkins will continue to forge his own path via his artistry, blending styles and blurring the boundaries between genres, and will inevitably in the process discover and create exciting new works.

The Odd One Out. 

ANTI 02: https://www.oddone.info/ANTI02

ANTI 01: https://www.oddone.info/ANTI01

Somebody To Love: https://www.oddone.info/SomebodyToLove

Odd Ones V3: https://www.oddone.info/oov3

MGMT: adam@jet-mgmt.com & sam@jet-mgmt.com

FLOORPAN "THE MASTER'S PLAN" (CLASSIC MUSIC):
https://cmc.lnk.to/cmcd141d

Before I got into this music I wanted to be an originator ; I wanted to be original".
Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. 

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group.
We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy.
"I was influenced by my father - I wanted to play trumpet like he did."
Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers.
"I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.
"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, mainly via his housier, disco, gospel moniker Floorplan with his daughter Lyric Hood,   Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends.

hollyx94 is following